Seelenheil - Auf dem Weg ins Licht: Teil 1 (German Edition)

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Hence Bach had large opportunity to write in this form. Yet, no Latin Motetts of his are extant, though there is evidence suggesting the conclusion that he wrote one. Of the six Motetts only the last is without Choral movements. In form the latter for the most part are Simple Motetts 2, 3, 5.

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A single example of the Extended form is found in Motett 1, and of the Choral Fantasia or Motett form in Motett 3 verse 5 and Motett 4 2. The source whence Bach drew so large a supply of Hymn texts can be indicated readily. Of the Hymns used by Bach all but eleven are found there 1. The choice of Hymn texts therefore need not have occasioned Bach much research.

The following are the Hymns, tabulated under the names of their authors:. Albrecht Margrave of Brandenburg-Culmbach Emilie Juliane Countess of Schwarzburg-Rudolstadt Caspar Fuger d. Nicolaus Herman c. Martin Janus c. Johann Kolross d. Adam Reissner c. Bartholomaus Ringwaldt c. During his Cantorship at Leipzig Bach systematically collected, harmonised, and in some cases refashioned, Hymn tunes whose qualities attracted him.

At the time of his death he had brought together about two hundred and forty melodies in a manuscript which unfortunately has disappeared. Bach was invited to prepare the collection for the press. The Preface announced that about two hundred more melodies were ready for a second edition, should one be called for, as unhappily was not the case.

To his own copy of the book he added eighty-eight harmonised Chorals. Meanwhile in Breitkopf of Leipzig acquired a ms. He invited Philipp Emmanuel Bach to edit and preface it with an Introduction. In the book was issued. A second Part, with which Philipp Emmanuel was not associated, was published in Philipp Emmanuel edited this collection also. Leipzig bey Johann Gottlob Immanuel Breitkopf. Peters, Leipzig, in two volumes Prefaces dated and which contain three hundred and nineteen Choral settings.

Erk gives some of the longer as well as the simple Hymn settings, besides some tunes drawn from other sources than those which the second of the two collections explores. Gesammtausgabe fur den praktischen Gebrauch.

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They are printed from B. Besides these one hundred and four melodies, Bach uses twenty-eight in his Organ works that are not found elsewhere in his music. Therefore, excluding his own compositions, it appears that he introduced into the works that have come down to us the following one hundred and thirty-two Hymn tunes:.


Wolfgang Dachstein d. An Wasserflussen Babylon 3. Wolfgang Figulus c. O grosser Gott von Macht 3.

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Es sind doch selig alle 1. Herzlich thut mich verlangen 3. Heinrich Isaak b. O Welt, ich muss dich lassen 4. Johann Schop d. Das alte Jahr vergangen ist 2. Wo soll ich fliehen hin 1. Carl von Winterfeld, who first gave the subject critical examination, left a heavy legacy of error, which Ludwig Erk did somewhat to lighten. Spitta 3 devotes a few pages to the subject, but they are disfigured by very serious mistakes. Schweitzer carries the investigation no farther and merely records the conjectures of others. It will be useful, therefore, though the enquiry is not directly relative to the Cantatas and Motetts, to explore the subject in the light of information which Spitta did not possess.

At the outset, it is advisable to clear the ground by eliminating tunes which have been or are asserted to be by Bach and demonstrably are not. In fact not one of them is by him. They are as follows:. Zahn, Nos. Their common source appears to be G. The melody Zahn, No. The tune is printed in a Dresden collection of Zahn, No. See Cantata The second Choralgesange, No. The tune is as old as Zahn, No. Spitta himself attributes the following melodies to Bach, inaccurately in every case:. The tune is by Gottfried Vopelius and dates from Zahn, No. It is in Hymns A.

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It occurs in Cantata and is discussed there infra at length. The tune dates from Zahn, No. The tune occurs in Zahn, No. The tune is found in a Silesian ms. The melody occurs in Cantata and is there discussed. The tune is found in a Gotha Psalter of Zahn, No. We can pass now to a number of tunes which are found for the first time in one or other of the Bach collections and, for that reason, establish a presumptive right to be regarded as his compositions.

They number forty-two. In the second Part of F. The last three are the only tunes of his own composition which Bach has wedded to the stanzas of a congregational Hymn in the whole range of his concerted Church music 2. Zahn, No. Edition: current; Page: [ 75 ] The melody is not found in any other Hymn book. It is not found elsewhere. As the Edition: current; Page: [ 76 ] Hymn practically had been neglected since Jakob Hintze gave it a melody in , it is curious that Bach and Konig, the one at Leipzig and the other at Frankfurt a.

Main, should have turned their attention to it simultaneously. Indeed, it declares his Edition: current; Page: [ 78 ] authorship unmistakeably. It is not found in any other Hymn book. Zahn No. It had a wide vogue in Hymn books of the second half of the Edition: current; Page: [ 79 ] seventeenth and first half of the eighteenth century. It is characteristic of his Aria form and is certainly his.

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Notenbuchlein p. Erk, No. It differs from the Notenbuchlein.

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The tune is not found in other Hymn books. A large number of variations of that tune exist, one of which Zahn, No. That Bach was familiar with the tune appears from the fact that, with an altered first part, it is among the Choralgesange of , set to the same Hymn Erk, No. The Schemelli tune, though modelled on the Neander-Freylinghausen form, is a new melody.

It is not found in any other eighteenth century Hymn book. The melody is an Aria —it is so called in the ms. The melody and Bass are by Bach.